Tiffen Digital Photo Video User Manual
Tiffen is a leading manufacturer and distributor
of photo accessories and related products.
For more information on any of our product lines,
visit our website at:
www.tiffen.com
or for technical assistance, call us at:
1-800-645-2522
The Tiffen Company
90 Oser Avenue, Hauppauge, NY 11788
Phone: 631-273-2500 • Fax: 631-273-2557
www.tiffen.com
e-mail: techsupport@tiffen.com
Filters & Lens
Accessories
Digital Photo ViDeo
Pro-Mist® 2
Circular
Polarizer
Tiffen®, 812®, Color-Grad®, Diffusion/FX®, Domke®,
FL-B®, FL-D®, Glimmerglass®, HDTV/FX®, Hollywood/FX®, Merlin®,
Nude/FX®, Pro-Mist®, Pro-Tective®, Saunders®, Smoque®, Soft/FX®,
Steadicam®, Stroboframe® & Zing®
are registered trademarks of The Tiffen Company.
©2007 The Tiffen Company
PRINTED IN U.S.A.
(0907)
BFILT
Gold Diffusion/FX
ENHANCING
Warm Black
Pro-Mist® 3
®
3
Tiffen optical filters are more
important then ever before,
when shooting with your
digital camera.
• Save time and frustration in post-production – eliminate uncertainty and see the effect
you want immediately, not hours or days later.
Lens Protection – Protect your lens from mois-
•
ture, scratches and damage.
Correction – Bring the optical correction to a
•
known standard, leaving more latitude for digital
effects used later.
Contrast Control – Our award-winning Ultra
•
Contrast and Low Contrast filters allow your digital
camera to capture more shadow detail or lower
contrast evenly.
Polarizers – These filter are ideal for color and
•
contrast enhancements, removing reflections from
water and glass (impossible to do electronically)
while adding richer, natural color saturation.
Color Enhancing Filter – Makes vibrant fall
•
colors "pop" without adversely affecting other colors.
Difficult to easily do electronically.
Color-Grad® Filters – Add color selectively to the
•
image while keeping other portions unaffected.
Why You Need Tiffen Optical Filters
There is something to be said for creating images at the
moment of exposure—the way most of the world’s greatest
pictures have been made. Tiffen optical filters let you do just
that, by being able to preview the effect you’ll get when it
matters most—when you’re behind the camera.
There is nothing wrong with using electronic plug-in filter
programs that let you add effects or manipulate the image
after it’s taken. But if you really want to own the final images
you compose, there’s no substitute for Tiffen optical filters.
They’re simply unsurpassed when it comes to controlling
color balance and special effects with precision, repeatability, and convenience.
It’s important to remember that filtering the light, before
it passes through the lens and strikes the image sensor or
film, has important advantages. It lets you match the brightness range of the scene to the characteristics of the capture
medium, and get professional quality results even under
tough lighting conditions. Tiffen Polarizing filters actually
polarize the light to eliminate reflections on glass and water
surfaces while retaining sub-surface details. Neither of these
effects are possible with after-the-fact plug-in filter systems,
which can only provide filter effects, not true light filtration.
Why Tiffen Filters Are Superior
Tiffen filters are manufactured using ColorCore™ technology, a closely guarded proprietary process that entails
permanently laminating the filter material in between
two pieces of optical glass that are ground flat to tolerances of a ten-thousandth of an inch, then mounting them in
precision metal rings. The ColorCore process allows us
to control the color and density of Tiffen filters, and the
characteristics of special effects filters with much greater
accuracy than typical dyed-in-the-mass filters, which usually
exhibit color and density variations.
When Tiffen filters are ground and polished, the
ColorCore is unaffected, so color and density remain
uniform. Indeed, when you hold a group of Tiffen filters of
the same type against a white sheet of paper, they all look
identical—because they are! Try this with our competitors’
filters and you’re likely to see slight variations.
Maybe that’s why most top Hollywood motion picture
studios rely on Tiffen filters for their multimillion-dollar
productions, or why we can custom-make an exact replacement for them if one breaks on the job. That’s consistency,
and excellence—two pretty good reasons why, when it
comes to filters, you should rely on Tiffen too.
See the Difference Tiffen Filters Make
Tiffen filters make a big difference indoors, outdoors, in
close-up portraits or mile–wide landscapes, in bright sun or
shade, and in many other photo situations–the right Tiffen
filter delivers a great image instead of a snapshot. Whether
you’re shooting photos or video, in black and white or
color, Tiffen filters offer a variety of subtle, special and
spectacular effects to give you more enjoyment every time
you use your camera or camcorder.
The Tiffen Ten-Year Warranty
Tiffen precision-made filters are so superior, we back
them with a 10-year warranty against manufacturing
defects. Unlike ordinary batch-dyed glass filters in which
color can be uneven, our unique lamination process
allows complete control over color and density for
maximum consistency. Tiffen has been honored with two
Technical Achievement Awards, and a Scientific and
Engineering Award from the Academy of Motion Picture
Arts and Sciences for its lamination process and innovative product design. Tiffen has also been awarded an
Emmy, from the Academy of Television Arts and Sciences,
for its Engineering Excellence.
PROTECTION/UV FILTERS . . . . . . . . . . . . . . . . . . . 6–7
UV Protector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Sky 1-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Haze-1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Haze 2A, UV 17. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Digital Ultra Clear™ . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Warm UV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
POLARIZING FILTERS. . . . . . . . . . . . . . . . . . . . . . . 8–9
Polarizer, Circular Polarizer . . . . . . . . . . . . . . . . . . . . . 8
Warm Polarizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Wide Angle Circular Polarizer . . . . . . . . . . . . . . . . . . . 8
COLOR CONVERSION FILTERS . . . . . . . . . . . . .
80A, 80B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
85, 85B, 85C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
10–11
The Professional’s Choice
Superior quality and design make Tiffen the overwhelming choice of moviemakers, professional photographers and even NASA. Our filters are used in almost
every major movie and TV production around the world.
The craftsmanship these professionals demand is part
of every Tiffen filter, whether for video, digital imaging,
scientific work, film or still photography. Shouldn’t
Tiffen be your filter?
Helpful Icons
Also available in thin filter rings designed
to help avoid vignetting on wide angle lenses.
Shows the recommended increase of
exposure compensation (f-stops) for certain
filters (for manual camera setting).
Special effects filters originally designed for
the TV and Movie industry, now available to
all photographers and videographers.
Some filters are available in various densities (grades). As the
density increases, the filter effect becomes stronger. For those
filters that combine a warming effect technology with any of
several other effects in one filter, the warming effect remains
the same.
Please check the filter sizer on page 47 to select the correct filter
size for your camera.
Cover Photos:
© Christie Spencer: Pro-Mist® 2 (top)
© Stan Goldberg: Circular Polarizer (2nd from top)
© Jasper Johal: Gold Diffusion/FX® 3 (3rd from top)
© Stan Goldberg: ENHANCING (4th from top)
© Kiersten A. Stein: Warm Black Pro-Mist® 3 (bottom)
LIGHT BALANCING FILTERS
81A, 81B, 81C, 81EF . . . . . . . . . . . . . . . . . . . . . . . . . 12
82A, 82B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
FL-B®, FL-D®. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Neutral Density .3, .6, .9 . . . . . . . . . . . . . . . . . . . . . . 14
SPECIALTY FILTERS . . . . . . . . . . . . . . . . . . . . . . .
812® Warming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
ENHANCING®. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Fog, Double Fog, Sepia, Smoque® . . . . . . . . . . . . . . 18
Star Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Close Up Lens Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Hot Mirror. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Infrared 87 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
®
HOLLYWOOD/FX
Pro-Mist®. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Warm Pro-Mist® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Black Pro-Mist®, Warm Black Pro-Mist®. . . . . . . . . . . 22
Black & Gold Diffusion/FX®. . . . . . . . . . . . . . . . . . . . 24
Center Spot & Warm Center Spot . . . . . . . . . . . . . . . 24
Digital Diffusion/FX®, HDTV/FX®, Nude/FX®. . . . . . 26
Soft/FX®, Warm Soft/FX®, Glimmerglass® . . . . . . . . 28
Ultra Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
North, Hyper, Vector, Hollywood Stars . . . . . . . . . . . 30
Color-Grad® Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
FILTERS FOR BLACK & WHITE PHOTOGRAPHY
Yellow 8, 12, 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Orange 16, 21; Blue 47, 47B . . . . . . . . . . . . . . . . . . . . . . . 34
Red 23A, 25, 29; Green 11, 58 . . . . . . . . . . . . . . . . . . . 36
MULTIPLE FILTER KITS . . . . . . . . . . . . . . . . . . . . . . . . . .38–39
FILTER GUIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40–43
OTHER TIFFEN PRODUCTS . . . . . . . . . . . . . . . . . . . . . 43–47
FILTER SIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Due to variations in printing, results may not accurately reflect filter effects.
FILTERS . . . . . . . . . . . . . . . . 22–31
. . . . . . . . . . . . . . . . 12–15
16–20
34–37
5
-10
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
Sky-1A
Haze-2A
UV-17
Haze-1
UV Reduction
www.tiffen.com
Protection/UV/Haze Control
UV Protector
Sky 1-A
Haze
Safeguard your lens
and absorb UV light
Film and video are more sensitive to UV light than
our eyes are. This often shows up as a bluish cast
essentials
in images, especially shots from high altitudes and
long distances, particularly over water. Ultra Violet
filters are available in a variety of UV absorption
levels. Protects your camera or camcorder lens
against dust, moisture, fingerprints, scratches and
damage. These filters can be kept on your camera
at all times.
UV Protector
❍ Most popular protection filter.
❍ Provides basic reduction of UV light.
❍ Available for Wide Angle lenses.
Digital Ultra Clear
❍Made from the highest quality optical glass.
❍Offers ultimate protection.
❍May be kept on lens at all times.
❍For Digital, Video and Photo.
Sky 1-A Filter
❍Absorbs almost half of UV light.
❍Popular general use filter.
❍Pink-tinted for added warmth and
better colors.
❍Especially helpful when shooting in outdoor
open shade and on overcast days.
❍Available for Wide Angle lenses.
Haze-1
❍ Reduces excessive blue by absorbing
almost three quarters of UV light.
❍ Best general purpose UV control.
❍ Eliminates UV problems from most situations
where increased haze tends to wash out
color and image clarity.
❍ Available for Wide Angle lenses.
6
Digital Ultra Clear
™
Warm UV
Without Filter
Sky 1-A
SPECIAL UV FILTERS
Haze 2A
❍ Absorbs virtually all UV light.
❍ Reduces haze more than Haze-1.
❍ Perfect for use in high altitudes and along bodies
of water. Ideal for aerial/mountain/marine scenes.
❍ Maintains color and image clarity.
UV-17/Warm UV
❍ For the technically-minded image maker who
wants to absorb most but not all UV light.
❍ Absorbs slightly less UV light than Haze 2A.
❍Combines benefits of UV 17 with Tiffen exclusive
812® Color Warming Filter for added warmth.
7
Sky 1-A
Haze-1
© Kenneth Sklute
© Roger J. Waindle
www.tiffen.com
Polarizing Filters
Circular PolarizerPolarizer
Warm Polarizer
UltraPol
Polarizers provide color and contrast enhancement. Reflected light often shows up as whitish
glare that washes out color in an image. A
Polarizer corrects this problem producing deep,
essentials
dramatically blue skies. It also removes glare from
non-metallic surfaces, such as windows and water.
Color saturation in general, especially outdoors,
can be improved significantly.
Polarizer
Circular Polarizer
Ultra Pol
❍ Essential general-use outdoor color filter.
❍ Produces deeper skies and minimizes
reflections in black and white and color
photography.
❍ Can be rotated to achieve desired effect.
❍ Ultra Pol
A Circular Polarizer has the same effect as a
Polarizer and is used on cameras with beam splitting metering systems commonly found on auto
focus SLR’s (for most 35mm auto-focus cameras
– see your camera manual).
Use the Tiffen Polarizing filters with the enhancing filter for more dramatic effects.
®
®
offers maximum polarization.
®
Without Filter
© David Singer
© Stan Goldberg
© Jasper Johal
Without Filter
Without Filter
Without
Filter
Standard Polarizer
Circular Polarizer
Polarizer & ENHANCING
®
Ultra Pol
Warm Polarizer
Combines the benefits of the linear Polarizer with
the warming effect of the 812® Color Warming filter
making it ideal for portraits and scenics.
Area of sky most effectively polarized with a
Circular Polarizer:
Point your index finger at the sun. With
your thumb extended at a right angle (90°),
rotate it around the axis of the index finger.
It will point out the band of deepest blue from
horizon to horizon.
Polarizer
Warm Polarizer
98
© Daniel Aubry, NYC
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
80B
80A
80 Series
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
85B
85
85C
85 Series
www.tiffen.com
Color Conversion Filters
80A 80B 85C
85
85B
Sunlight, daylight, incandescent, fluorescent, and
other artificial light sources all have color characteristics that vary significantly. Filters give you better
images by adjusting for these light variations.
Film and video are rated for a particular color
temperature such as that of daylight or tungsten
light. Filters are used to correct differences in color
temperature between the recording medium and
the light source.
Color CorreCtion
80 Series
Get the right colors with daylight film when shooting
indoors, with tungsten lighting, and without a flash.
80A
Balances daylight film for use with most standard tungsten lighting, studio lighting and copy stand lighting.
80B
Balances daylight film for use with photo flood lamps.
85 Series
Using tungsten film in daylight will produce a bluish
cast. The 85 Series will produce natural colors when
shooting with tungsten film outdoors. For best results use
the filter that most accurately matches your film type.
Without Filter
© Ira Tiffen
80A
85
Produces slightly cooler results than the 85B.
85B
Converts tungsten film to daylight.
85C
Useful as creative warming effect with daylight film in
daylight. Designed to produce cooler results with tungsten film in daylight than the 85 or 85B.
Filter Conversion Exposure increase
80A 3,200 to 5,500 K 2 stops
80B 3,400 to 5,500
85 5,500 to 3,400 K 2/3 stop
85B 5,500 to 3,200
85C 5,500 to 3,800
K 2 stops
K 2/3 stop
K 1/3 stop
Without Filter
© Harry Hofmann
85B
1110
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
81 Series
81A
81B
81C
81EF
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
82 Series
82B
82A
www.tiffen.com
Light Balancing Filters
81B81A
82A
81C 81EF
82B
81A, 81B, 81C
& 81EF
The 81 series filters are useful with daylight corrected
film in cool light conditions. As letters advance, density
Color CorreCtion
and warmth increases.
❍ Creates warmer tones and brighter colors
on overcast days or when shooting with electronic flash.
❍ Great for improving flesh tones.
❍ 81A converts tungsten 3200 K film
to 3400 K lighting.
82A , 82B
The 82A and 82B reduce unnatural red tones in early
morning or late afternoon light.
❍Prevents reddish cast.
❍Maintains natural flesh tones.
❍Can create mood of coolness.
❍82A provides a cooler effect with tungsten
film under 3200 K lamps.
Without Filter
81C
© Roger J. Waindle
Color Compensating Filters
Magenta CC05M, CC10M, CC20M
CC30M, CC40M, CC50M
Magenta filters balance the color of excess green cast
and produce creative effects. Great for morning tint.
These filters can be combined to achieve more density.
Filter Conversion Exposure increase
81A 3,400 to 3,200 K 1/3 stop
81B 3,500 to 3,200 K 1/3 stop
81C 3,600 to 3,850 K 1/3 stop
81EF 3,850 to 4,140 K 2/3 stop
82A 3,000 to 3,200 K 1/3 stop
82B 2,900 to 3,060 K 2/3 stop
1312
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
FL-B
FL-D
FL-D® and FL-B
®
0
10
20
30
40
50
60
70
80
90
100
360 380 400 420 440 460 480 500 520 540 560 580 600 620 640 660 680 700
Wavelength (Nanometers)
Transmittance (%T)
ND.6
ND.9
ND.3
Neutral Density
www.tiffen.com
Light Balancing Filters
FL-B
ND .6
FL-D
ND .9ND .3
FL-B®, FL-D®
Provides correct color, removing harsh green cast
caused by fluorescent bulbs. Use FL-D with daylight film
and FL-B with tungsten film.
❍ Pleasing skintones under fluorescent lighting
Color CorreCtion
without flash.
❍ True-to-life color rendition.
❍ Essential in any environment where ambient
light source is fluorescent.
Neutral Density
.3 , .6 , .9
Neutral Density filters reduce the amount of light
passing through the camera lens without changing the
color of the scene. Especially useful in bright light conditions to help prevent overexposure. Also allows proper
exposure at a wider lens opening for reduced depth-offield to highlight a key subject by making the foreground
and/or background out of focus.
❍ Eliminates overly bright, washed-out images.
❍ Balances exposure.
❍ Controls depth-of-field.
❍ Allows slower shutter speeds to produce
blurred motion effects.
Without Filter
Without Filter
FL-D
FL-D®
ND.6
®
© Rob Goldman
© Jasper Johal
1514
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